Movie Theater Research Articles

COVID-19 in the pediatric population of the state of Jalisco: spatiotemporal analysis of 1,515 cases.

Initial publications of COVID-19 (2019 coronavirus disease) focused on the adult population until March 2020, when the first series in children was reported. Our objective was to analyze the spatiotemporal behavior of the pediatric population with COVID-19 in the state of Jalisco. We conducted a cross-sectional study including subjects < 18 years of age with SARS-CoV-2 (severe acute respiratory syndrome coronavirus 2) infection confirmed by reverse transcription-polymerase chain reaction, registered in the RADAR platform. We investigated the prevalence, incidence rate, age, sex, outpatient or inpatient status, distribution of cases by time, municipality of residence, and geographical region. Descriptive statistics were used for data analysis. Of 58,231 subjects studied, 1,515 were children (3%): 768 males (51%) and 747 females (49%). The mean age was 12 ± 5 years; outpatients predominated (94%). The Central region concentrated the largest cases with 1,257 (82%) and was the second-highest incidence rate, behind the Occidental Coastal-Mountain region. The most affected municipality was Guadalajara. The distribution of new cases increased proportionally to mobility: after the holiday weekend in May, it rose from 28 to 161 cases; after the opening of beaches and recreational sites in June and July, to 539; and after the opening of movie theaters in August, to 673 cases. Although with a lower incidence, the pediatric population is not exempt from SARS-CoV-2 infection. We observed an increase in cases as restrictions on social activities diminished.

Integer Solutions to Angle Optimization Problems

Summary We investigate integer and rational solutions to two angle optimization problems: where to park at a drive-in movie theater and where to place a solar panel in an alley between two walls. For the first problem we parametrize all integer-valued problems with integer solutions, and count the number of integer-valued problems with a given integer solution. For the second problem we characterize all integer-valued problems with rational solutions, and parametrize those solutions that also have a maximum angle that is rational in degrees.

Neoliberal Adaptation - Sweden, Finland and Denmark Film Industries

ABSTRACT Neo-liberal culture puts a major emphasis on the importance of continual economic growth as a necessary strategy for any given industry. However, analysing adaptation trends of economic growth in the contemporary Swedish, Danish, and Finnish film industries between 2010 and 2019, based on data gathered from LUMIERE, suggests that all three film industries do not demonstrate significant growth trends – not in terms of the number of films produced, admissions growth, and number of co-producer partners. Hence, it can be concluded that these film industries should consider a better adaptation strategy to neo-liberal market principles. Or perhaps in the streaming area, when movie theatres are losing their prestige, a better adaptation strategy to neo-liberal market principles is needed

Advertising and the Transformation of Screen Cultures

Advertising and the Transformation of Screen Cultures

The Politics of Nordsploitation: History, Industry, Audiences

The Politics of Nordsploitation: History, Industry, Audiences

Hollywood’s Embassies

Hollywood’s Embassies

Reflective Futurology: Exploring Black Time Travel and Intergenerational Healing in Lovecraft Country and Beyond

Reflective Futurology: Exploring Black Time Travel and Intergenerational Healing in Lovecraft Country and Beyond Loren S. Cahill (bio) Ten million viewers mourned the recent loss of the HBO series Lovecraft Country, a show that covered many themes amplified through the writers’ juxtaposition of science fiction with the violence of Jim/Jane Crow America. In Episode Nine, “Rewind 1921,” four characters from the show tackle feats of Black Time Travel and intergenerational healing. Those characters are Atticus (“Tic”), the show’s protagonist; Montrose, his father; Lettie, who is pregnant with Atticus’s child; and Hippolyta, Atticus’s aunt. This collective is tasked with traveling back in time to find the Book of Names during the massacre of three hundred Black citizens in Tulsa, Oklahoma, commonly known as the Tulsa Massacre. This racial cleansing event resulted in an entire thirty-five square block radius being burned off of the map. Five hotels, thirty-one restaurants, eight doctors’ offices, two movie theaters, four drug stores, twenty-four grocery stores, and over one thousand homes were reduced to ash (Matthews). Over the course of just a few hours, each character not only witnesses destruction but also learns lessons from ancestors, parents, and children that have unconsciously shaped them in the present. In this essay, I will highlight how each of these four Lovecraft Country characters vicariously witnesses this tragedy and intimately learns about collectively-held trauma. Atticus learns more context for the abuse Montrose endured at the hands of his father because of his queerness. Montrose observes as an adult how he has been unable to break his father’s cycle of abuse and alcoholism. Leti has a powerful conversation with Nana Hattie, Dora’s (Atticus’s Mother) grandmother about the tasks required of Black matriarchs. While Hippolyta stays in the present, she uses cyborg technology to open a time portal; in a moment when Hippolyta feels unable to sustain the point of entry, she thinks of her daughter, Diana, and is able to accomplish her task by transforming into Orithyia Blue, a superhero representation of Diana’s wildest dreams for her mother. Each person is uniquely making connections to those who came before and from them and are forever changed through the process. I use these examples from Lovecraft Country to scaffold a critical need for Black people to develop our own mechanisms of time travel (Phillips and Ayewa) and also our relationships with ancestors and future generations. I call this practice Reflective Futurology, a method and epistemological framework that seeks to unravel the processes by which communal memory is seeded and collective memory is spread across time and space, reaching backward and forward in time simultaneously to include everything that has happened and [End Page 59] will happen (Phillips and Matti). I conclude the article by listing practices that will allow readers to trace their family lines, learn more about their history, set intentions, and begin their own archival practice for their future ancestors. Such praxis includes intention setting, ancestry tracing, oral history, and creative nonfiction. Reflective Futurology, through both the examples of cinema and in our lives, allows us to learn about and break cycles and creates the opportunity to chart new paths. Historical Context In May 1921, Greenwood was so promising, so vibrant that it became home to what was known as America’s Black Wall Street. But what took years to build was erased in less than 24 hours by racial violence sending hundreds of dead into mass graves and forever altering family trees, though for decades what happened in Greenwood was willfully buried in normative educational and national history. The troubles began when on May 30 a situation involving two teenagers in an elevator in the Drexel building in downtown Tulsa morphed into an accusation of sexual assault (Parrish 2). Accounts vary as to what happened between Dick Rowland, 19, a young Black shoe shiner, and Sarah Page, 17, a white elevator operator. One common theory suggests Mr. Rowland tripped and grabbed onto the arm of Ms. Page while trying to catch his fall. She screamed, and he ran away, according to the commission report (Goble 57). The next day, Mr. Rowland was arrested and jailed in...

Don’t Look Down

Don’t Look Down

The impact of air pollution on movie theater admissions

We provide new evidence of pollution avoidance in the movie theater market. Our analysis is based on a unique dataset of high-frequency movie ticket sales in China at the movie- and city-level during 2012–2014. We estimate that one pollution day reduces the market share of a movie by 2.26%, other things being equal. The effect is mainly through ambient pollution exposure during transportation to the theater. On average, popular movies are inelastic to air pollution. However, as air quality deteriorates, even blockbuster movies start to suffer a box-office loss during the heavy pollution episodes.

All or nothing? Partial business shutdowns and COVID-19 fatality growth.

Incomplete vaccine uptake and limited vaccine availability for some segments of the population could lead policymakers to consider re-imposing restrictions to help reduce fatalities. Early in the pandemic, full business shutdowns were commonplace. Given this response, much of the literature on policy effectiveness has focused on full closures and their impact. But were complete closures necessary? Using a hand-collected database of partial business closures for all U.S. counties from March through December 2020, we examine the impact of capacity restrictions on COVID-19 fatality growth. For the restaurant and bar sector, we find that several combinations of partial capacity restrictions are as effective as full shutdowns. For example, point estimates indicate that, for the average county, limiting restaurants and bars to 25% of capacity reduces the fatality growth rate six weeks ahead by approximately 43%, while completely closing them reduces fatality growth by about 16%. The evidence is more mixed for the other sectors that we study. We find that full gym closures reduce the COVID-19 fatality growth rate, while partial closures may be counterproductive relative to leaving capacity unrestricted. Retail closures are ineffective, but 50% capacity limits reduce fatality growth. We find that restricting salons, other personal services and movie theaters is either ineffective or counterproductive.

Effects of Chain Affiliation in the Movie Theater Industry

In this paper, I empirically study the effect of chain affiliation on product variety and price in the movie theater industry. Using longitudinal data on Korean movie theaters, I find that movie variety in a theater increases by 3.2–5.5% after the theater joins a chain. Admission price, however, does not change after chain affiliation. These findings imply that consumers may benefit from the growing dominance of chain-affiliated theaters in recent decades. The results also suggest that the regulatory authorities should carefully examine the trade-off between the increase in market power and efficiency gains when evaluating the implications of chain affiliation.

Panic at the Picture Show: Southern Movie Theatre Culture and the Struggle to Desegregate

This paper explores the complex desegregation process of movie theatres in the southern United States. Building off of historiography that investigates regulations of postwar teenage sexuality and recent scholarly work that acknowledges the link between sexuality and civil rights, I argue that movie theatres had a uniquely delayed desegregation process due to perceived sexual intrigue of the dark, private theatre space. Through analysis of drive-in and hardtop theatres, censorship of on-screen content, and youth involvement in desegregation, I contend that anxieties of interracial intimacy and unsupervised teenage sexuality produced this especially prolonged integration process.

Panic at the Picture Show: Southern Movie Theatre Culture and the Struggle to Desegregate

This paper explores the complex desegregation process of movie theatres in the southern United States. Building off of historiography that investigates regulations of postwar teenage sexuality and recent scholarly work that acknowledges the link between sexuality and civil rights, I argue that movie theatres had a uniquely delayed desegregation process due to perceived sexual intrigue of the dark, private theatre space. Through analysis of drive-in and hardtop theatres, censorship of on-screen content, and youth involvement in desegregation, I contend that anxieties of interracial intimacy and unsupervised teenage sexuality produced this especially prolonged integration process.

Everyday Movies: Portable Film Projectors and the Transformation of American Culture by Haidee Wasson

Reviewed by: Everyday Movies: Portable Film Projectors and the Transformation of American Culture by Haidee Wasson Gaurav Pai (bio) Everyday Movies: Portable Film Projectors and the Transformation of American Culture by Haidee Wasson. University of California Press. 2020. 288 pages. $85.00 hardcover; $29.95 paper; also available in e-book. The recent expansion in the study of nontheatrical and amateur film—both made with small-gauge film technologies—resembles that of film noir around three decades ago. Scholars studying North American film discovered a new tranche of films that had hitherto been judged to be of inferior quality, not worthy as objects of scholarly historiography, and subsequently relegated to the margins of cinema and media studies. Patricia R. Zimmermann fired the first major salvo for amateur media in 1995 with her monograph Reel Families: A Social History of Amateur Film, and soon thereafter historians such as Alan Kattelle and Anthony Slide began collating information from amateur and specialty periodicals, while Rick Prelinger began cataloging thousands of films that were shown outside of movie theaters.1 In the past two decades, the journal Film History has produced at least four issues dedicated to amateur and nontheatrical film, edited by scholars who have gone on to produce book-length [End Page 224] monographs and edited collections.2 Common to all this scholarship is the claim that this diverse collection of films has production histories, technologies of reception, and aesthetics that are radically different from that of popular feature films. Amateur and nontheatrical filmmakers rarely followed an industrial mode of production; their work was mostly seen outside of theaters, and its contents ranged from the educational to the sponsored, and even the experimental. That most of these films were made with small-gauge technologies only enhances this binarized theorization, where nontheatrical cinema is seen as the opposite of theatrical cinema. Haidee Wasson's new book challenges this supposed opposition. By examining the portability of the equipment that was used to make, disseminate, and watch amateur and nontheatrical films, Wasson recontextualizes them in the broader arc of film history from early cinema to digital media. By firmly ensconcing film practices based on portable technologies in twentiethcentury American culture, Wasson helps readers take another step inside the still evolving field of nontheatrical film, within the broader fields of cinema and media studies, media archaeology, and American studies. Wasson's central argument is that portable, or small-gauge, film technologies played as significant a role in the cultural, technological, and sensorial production of media consumers in the twentieth-century United States as Hollywood movies—clearly a transgressive take on the traditionally understood relationship between the two. For Wasson, portability refers to "a set of foundational capacities that transformed both recording and playback devices and thus affected the ways in which words, sounds, and images have been inscribed, stored, and then circulated and accessed."3 The noninflammable "safety" film stock of small gauges such as 16mm and 8mm offered such portability and allowed for industrial films, educational films, military films, amateur films, and science films to be screened at multiple venues outside the traditional movie theater. Wasson explains that the personnel behind film projection technologies intended for nontheatrical spaces used gauge as a "tactic to make portability seem less threatening to the studios and to theater owners, still mighty lynch pins in the film ecology."4 After World War II, these portable technologies grew in usage. Indeed, Wasson provides detailed statistical evidence to argue that portable projectors came to outnumber movie theaters in the years just after the war.5 So while conventional film history sees the 1950s as the fall of classical Hollywood and the rise of television, it was also a boom time for small-gauge film technologies and film stock sales. In this way, Wasson decenters the movie theater at the center of our imagination and understanding as the principal way moving images were consumed and enjoyed in the twentieth century. Or, put another way, she places portable [End Page 225] small-gauge film at the center, rather than at the periphery, of our assumptions about cinema and its histories. Everyday Movies paints a portrait of a sprawling technological infrastructure of making, showing...

Are Mass Shooters a Social Kind?

On April 20, 1999, Eric Harris and Dylan Klebold shot and killed fifteen people at their high school in Columbine, Colorado. National media dubbed the event a “school shooting.” The term grimly expanded over the next several years to include similar events at army bases, movie theaters, churches, and nightclubs. Today, we commonly use the categories “mass shooter” and “mass shooting” to organize and classify information about gun violence. I will argue that neither category is an effective tool for reducing gun violence and use empirical data to show how these categories perpetuate a moral panic that harms already vulnerable demographics. I conclude that we should instead favor a narrower description of individuals and events, (e.g., “X shot Y people at Z”) because we can talk about all the relevant cases without contributing the undue harms.

Licht und Schatten: Kinotagebuch, 1929–1945

When Klemperer's diaries became public in the 1990s, editors mostly excluded the material about film to keep the publication a manageable size. This new edition restores entries from between June 1929 and April 1945 with a focus on what Klemperer describes as one of his “addictions”—watching movies. Film scholars will be happy to have Klemperer's glosses on films both famous and forgotten. Almost everyone knows The Blue Angel, but not The Three from the Filling Station (1930), which outgrossed it at the box office. Klemperer despises the first talkies in the late 1920s and early 1930s. Awful (scheusslich) is his word for them—as jarring, he says, as a voice coming from a burning bush. He finds them disturbingly artificial and argues that film must become an expressive art, like ballet, and be carried by music, or else it will become an obnoxious dead mechanism (and disgusting as well).This edition includes more than Klemperer's reports on his avid film-going. Some of them are quite personal. An entry for 1931 concerns how “helpless” his partner Eva's severe depression has left him feeling. That same year, he reports the torment “that I have grown old and no longer have any career prospects” as a scholar. It may be that the social and political context of Klemperer's life will attract the most readers. By the first part of 1933, Klemperer was already writing: “I will never trust Germany again.” It was in 1933 that he realized Hindenburg was a puppet and that Hitler was being recast by newspapers as a “statesman” and “genial diplomat.” By the end of 1938, all “non-Aryans” were banned from cinemas, and despite his self-identification as a Protestant, Klemperer was classified as a Jew. Matters grew, as the Germans say, immer schlimmer, worse and worse. During the horrific bombing of Dresden in mid-February 1945, Eva and Victor were able to escape from the city. They tore the Jewish star from their clothes and disappeared into the crowd. A few days later, at a soldier's invitation, they were in Klotzsche, north of central Dresden, in a movie theater, watching Das war mein Leben (That Was My Life).

Business and property types experiencing excess violent crime: a micro-spatial analysis.

:Background:Beyond alcohol retail establishments, most business and property types receive limited attention in studies of violent crime. We sought to provide a comprehensive examination of which properties experience the most violent crime in a city and how that violence is distributed throughout a city.Methods:For a large urban city, we merged violent incident data from police reports with municipal tax assessor data from 2012-2017 and tabulated patterns of violent crime for 15 commercial and public property types. To describe outlier establishments, we calculated the proportion of individual parcels within each property-type that experienced more than 5 times the average number of crimes for that property-type and also mapped the 25 parcels with the highest number of violent incidents to explore what proportion of violent crime in these block groups were contributed by the outlier establishments. Results:While the hotel/lodging property-type experienced the highest number of violent crimes per parcel (2.72), each property-type had outlier establishments experiencing more than 5 times the average number of violent crimes per business. Twelve of 15 property-types (80%) had establishments with more than 10 times the mean number of violent incidents. The 25 parcels with the most violent crime comprised a wide variety of establishments, ranging from a shopping center, grocery store, gas station, motel, public park, vacant lot, public street, office building, transit station, hospital, pharmacy, school, community center, and movie theatre, and were distributed across the city. Eight of the 25 parcels with the highest amount of violent crime, accounted for 50% or more of the violent crime within a 400-meter buffer.Conclusions:All property-types had outlier establishments experiencing elevated counts of violent crimes. Furthermore, the 25 most violent properties in the city demonstrated remarkable diversity in property-type. Further studies assessing the risk of violent crime among additional property-types may aid in violence prevention.

Establishment of a Big Data Monitoring Platform for Cinema Opening in the Postepidemic Era from the Perspective of Public Health

The emergence of COVID-19 has had a huge impact on people's lives around the world. With the vaccine and the effective policies of the government, the spread of the epidemic has been effectively contained. However, in the postepidemic era, public health and epidemic protection policies have forced the transformation of public places such as movie theaters. The cinema box office monitored by the traditional monitoring platform can no longer effectively reflect the opening of the transformed cinema. To make up for the shortcomings of the traditional monitoring platform, considering the large amount of data generated by the cinemas' online and offline platforms and public place codes, this study establishes an intelligent monitoring platform based on big data technology to monitor the opening of cinemas. The established intelligent monitoring platform can fully extract the feature information contained in numerous data collected from cinemas and output quantitative indicators that characterize the opening of cinemas based on the feature information. The performance of the established intelligent monitoring platform is analyzed through a case study. The research results show that the average relative error between the cinema opening indicators predicted by the intelligent monitoring platform and the real results is within 2%, which indicates that the intelligent monitoring platform has good prediction accuracy. In addition, the statistical analysis results show that the linear correlation coefficient between the predicted and real results is 0.9802 > 0.95, which further indicates the feasibility of the established intelligent monitoring platform to monitor the opening of cinemas in the postepidemic era.

НАПРЯМ РОЗВИТКУ МЕРЕЖ КІНОТЕАТРІВ ПІД ВПЛИВОМ КРИЗОВИХ УМОВ

The article consider the ways of strategic development of cinema chains on time of negative impact of crises. The purpose of the article is to investigate the impact of external threats caused by the crisis on the cinemas chains in Ukraine. Analyze their weaknesses and develop proposals for ways to develop cinema networks in the post-crisis period based on SWOT analysis. Studied change in cinema chain`s market of Ukraine in context of «coronacrises» in 2020–2021 and martial law in early 2022 based on box-office`s indicators. Marked the specifics of the corrections marketing strategy of cinema chains in crises. Specific actions at the communication, organizational, financial and service levels of adaptation of marketing strategy to new conditions are outlined. The new weaknesses – advertising budget optimization and threats such as decreased purchasing power of visitors, physical reduction in the number of movie theaters due to the destruction of the war, internal migration is a decrease in the number of urban population, changing the tastes of visitors, produced by the new reality, were singled by the SWOT-analysis method. Thus, it was formed the practice recommendations for future development of cinema chains. Based on this results we recommended to cinemas choose the «Maxi-mini» strategy. It consist of mix of strength and weaknesses. Decrease in the purchasing power of visitors the cinema chains should changes in their pricing policy. To attract and support the internally displaced persons who may become new visitors, cinemas should do charity shows. The physical reduction in the number of cinemas due to the devastation of the war is severely damaging the cinema network. After the war, it will be possible to rebuild damaged buildings by receiving reparations. Already at this stage there is an under-standing that the genre preferences of visitors will change. In our opinion, the advantages will be comedy films, as well as increased attention to domestic cinema and stars. Therefore, this threat should be carefully investigated, which films will be in demand and amplify them by organizing parties, meetings with film crews.

The Effects of Covid-19 Pandemic towards Conventional Theaters and online Streaming Services in Indonesia

The Covid-19 pandemic has drastically disrupted all business sectors in Indonesia such as the arts, cultural, and entertainment industries. This circumstance necessitated the conversion of numerous conventional movie theatres and online streaming providers. This scientific article examined the impact of the pandemic on the entertainment industry, specifically theatres of XXI and CGV and movie streaming; Disney+Hotstar and Netflix. The qualitative method was used to develop this research. The dataset was taken from the survey taken from McKinsey Company website in 2020 and articles. The authors conducted an analysis of the changes based on two theories; New Media from Martin Lister, Jon Dovey, Seth Giddings and Kieran Kelly and Uses and Gratification Theory from Katz, Blumler, and Gurevitch. The research findings demonstrate that internet streaming services can meet the entertainment needs of lonely individuals at home and result in a paradigm shift away from the belief that new films are only released in theatres.